Iolanthe; or, The Peer and the Peri (/aɪ.oʊˈlænθiː/) is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert and Sullivan. In the opera, the fairy Iolanthe has been banished from fairyland because she married a mortal; this is forbidden by fairy law. Her son, Strephon, is an Arcadian shepherd who wants to marry Phyllis, a Ward of Chancery. All the members of the House of Peers also want to marry Phyllis. When Phyllis sees Strephon hugging a young woman (not knowing that it is his mother – immortal fairies all appear young), she assumes the worst and sets off a climactic confrontation between the peers and the fairies. The opera satirises many aspects of British government, law and society. The confrontation between the fairies and the peers is a version of one of Gilbert's favourite themes: a tranquil civilisation of women is disrupted by a male-dominated world through the discovery of mortal love.

Iolanthe opened in London on 25 November 1882, at the Savoy Theatre to a warm reception, and ran for 398 performances, the fourth consecutive hit by Gilbert and Sullivan. It was the first work to premiere at the Savoy (although Patience had transferred to the theatre in 1881) and was the first new theatre production in the world to be illuminated entirely with electric lights, permitting some special effects that had not been possible in the era of gas lighting. The opera opened simultaneously in New York, and touring companies were sent around the UK and US to play the piece. The first Australasian touring production followed in 1885, and the opera was revived in London beginning in 1901. The D'Oyly Carte Opera Company toured the opera nearly continuously in repertory from 1891 until 1982, and made several recordings of the opera over that period. Numerous other professional and amateur productions have been given of this enduring work, and various other recordings have been issued.

W. S. Gilbert presented his basic idea for a new opera to Arthur Sullivan in October 1881. Gilbert's earliest ideas for the story of Iolanthe originated in his Bab Ballad, "The Fairy Curate": "Once a fairy / Light and airy / Married with a mortal."[1] The fairy marries a "prosaic" attorney and bears him a son. After her son grows up, she visits him on Earth, but she is mistaken for his lover, since fairies perpetually appear young and beautiful.[2] Sullivan found the premise funny, and Gilbert set to work on fleshing out the story. By December, he had written some lyrics for Sullivan to look at, but he struggled with the plot for several months, whereas he had dashed off earlier operas in a matter of weeks.[3] During these months, Sullivan took an extended trip to Egypt, Italy and elsewhere. Upon his return to London in April 1882, he moved into a new home; in May, his beloved mother died rather suddenly.[4] By the end of July 1882, Gilbert had supplied Sullivan with lyrics to several of the songs, and Sullivan began work setting them to music. Over the next two months, Sullivan met Gilbert to discuss the libretto as more lyrics were completed. Music rehearsals began in September, and staging began in October, scheduled around performances of Gilbert and Sullivan's previous opera, Patience, which had transferred to the Savoy Theatre a year earlier.[5] Sullivan was still composing more numbers for the opera until 20 October, with a few modifications continuing into early November. Uncharacteristically, Sullivan composed the overture himself, instead of assigning it to an assistant.[6] Two casts rehearsed simultaneously, as the opera was to open on the same night in London and New York City, a historic first for any play.[7]

Gilbert had targeted the aristocracy and political officials for satiric treatment in earlier works. In this opera, the House of Lords is lampooned as a bastion of the ineffective, privileged and dim-witted, whose only qualification to govern is noble birth. The political party system, the law and other institutions also come in for a dose of satire. Throughout Iolanthe, however, both author and composer managed to couch the criticism among such bouncy, amiable absurdities and "splendid pageantry" that it is all received as good humour, with Prime Minister Gladstone complimenting the opera's good taste.[8] In fact, Gilbert later refused to allow quotes from the piece to be used as part of the campaign to diminish the powers of the House of Lords.[9]

Although titled Iolanthe all along in Gilbert's plot book,[10] for a time the piece was advertised as Perola and rehearsed under that name. According to an often-repeated myth, Gilbert and Sullivan did not change the name to Iolanthe until just before the première.[11] In fact, however, the title was advertised as Iolanthe as early as 13 November 1882 – eleven days before the opening – so the cast had at least that much time to learn the name. It is also clear that Sullivan's musical setting was written to match the cadence of the word "Iolanthe," and could only accommodate the word "Perola" by preceding it (awkwardly) with "O", "Come" or "Ah".[12]Henry Irving had produced a W. G. Wills adaptation of King René’s Daughter in London in 1880, under the name Iolanthe, and in October 1882 Gilbert asked his producer, Richard D'Oyly Carte, to request Irving's permission to use the name. It is not known whether Irving replied.[13]

Iolanthe premiered only three days after Patience closed at the Savoy. The Savoy Theatre, opened only a year earlier, was a state-of-the-art facility, the first theatre in the world to be lit entirely by electricity. Patience had transferred to the Savoy from the Opera Comique, upon the theatre's opening, but Iolanthe was the first show to premiere at the theatre. New lighting technologies made such special effects as sparkling fairy wands possible for the first time.[14][15] The principal fairies' heads were also lit by wreaths of small illuminated stars attached to a battery.[16] The audience that attended the opening night in London included Captain (later Captain Sir) Eyre Massey Shaw, head of the Metropolitan Fire Brigade, whom the Fairy Queen apostrophises in the second act ("Oh, Captain Shaw / Type of true love kept under / Could thy brigade with cold cascade / Quench my great love, I wonder?"). On the first night Alice Barnett, as the Queen of the Fairies, sang the verses directly to Captain Shaw, who was sitting in the centre of the stalls.[17]

The opera's premiere was received by an enthusiastic audience and earned critical praise,[18] although there was general agreement that the second act needed some trimming.[19]Iolanthe became the fourth consecutive major success for Gilbert, Sullivan and their producer, Richard D'Oyly Carte, following H.M.S. Pinafore (1878), The Pirates of Penzance (1879) and Patience (1881).[20] Increasingly viewing his work with Gilbert as frivolous, beneath his skills and repetitious, Sullivan had intended to resign from the partnership with Gilbert and Carte after Iolanthe, but on the day of its premiere, he received a letter from his broker, Edward Hall, notifying him that Hall had lost all his money, including £7,000 of Sullivan's investments, the bulk of his fortune.[21] Sullivan's lifestyle was not inexpensive, and he was helping to support his late brother's large family,[22] as well as his mistress, Fanny Ronalds, and her family.[23] He soon concluded that the only certain way to restore his financial security was to continue writing Savoy operas. On 8 February 1883, he signed a new five-year creative partnership agreement with Gilbert and Carte; Gilbert was already at work on their next piece, Princess Ida.[24] On 22 May 1883, Sullivan was knighted by Queen Victoria for his "services ... rendered to the promotion of the art of music" in Britain.[25]

The beloved fairy Iolanthe, who arranged the fairies' songs and dances, committed the capital crime (under fairy law) of marrying a mortal human. The Queen of the fairies commuted Iolanthe's sentence of death to banishment for life on the condition that Iolanthe left her husband and never communicated with him again. After the passage of 25 years, the fairies, still missing Iolanthe deeply, plead with their Queen to pardon Iolanthe and to restore her place in fairyland ("Tripping hither, tripping thither").

Summoned by the Fairy Queen ("Iolanthe! From thy dark exile thou art summoned"), Iolanthe rises from the frog-infested stream that has been her home in exile. The Queen, unable to bear punishing her any longer, pardons Iolanthe, who is warmly greeted by the other fairies. Iolanthe tells her sisters that she has a son, Strephon, noting that he's a fairy down to the waist, but his legs are mortal. The fairies laugh that Iolanthe appears too young to have a grown son, as one of the advantages of a fairy's immortality is that they never grow old. Strephon, a handsome Arcadian shepherd, arrives and meets his aunts ("Good-morrow, good mother"). He tells Iolanthe of his love for the Lord Chancellor's ward of court, the beautiful Phyllis, who does not know of Strephon's mixed origin. Strephon is despondent, however, as the Lord Chancellor has forbidden them to marry, partly because he feels that a shepherd is unsuitable for Phyllis, but partly because the Lord Chancellor wishes to marry Phyllis himself. In fact, so do half the members of Britain's House of Lords. The Fairy Queen promises her assistance ("Fare thee well, attractive stranger"). Soon Phyllis arrives, and she and Strephon share a moment of tenderness as they plan their future and possible elopement ("Good-morrow, good lover"; "None shall part us from each other").

A cadre of the peers of the realm arrive in noisy splendour ("Loudly let the trumpet bray") with the Lord Chancellor ("The law is the true embodiment"). They are all smitten with Phyllis, and they have appealed to the Lord Chancellor to decide who will have her hand. The Lord Chancellor hesitates to act upon his own regard for Phyllis due to his position as her guardian. The Lords send for Phyllis to choose one of their number, but she will not marry any of them, as virtue is found only in a "lowly" cottage ("My well-loved Lord" and "Nay, tempt me not"). The peers beg her not to scorn them simply because of their "blue blood" ("Spurn not the nobly born" and "My lords, it may not be"). Strephon approaches the Lord Chancellor, pleading that Nature bids him marry Phyllis. But the Lord Chancellor wryly notes that Strephon has not presented sufficient evidence that Nature has interested herself in the matter. He refuses his consent to the marriage between Strephon and Phyllis ("When I went to the Bar").

Disappointed, Strephon calls on Iolanthe for help. She appears and promises to support her son. Spying on the two, the peers – led by the brainless and stuffy Earls Tolloller and Mountararat – together with Phyllis, see Iolanthe and Strephon in a warm embrace. All three jump to the obvious conclusion, since the centuries-old Iolanthe appears to be a girl of seventeen ("When darkly looms the day"). The peers scoff at the seemingly absurd claim that Iolanthe is Strephon's mother as Strephon pleads: "She is, has been, my mother from my birth!" Phyllis angrily rejects Strephon for his supposed infidelity and declares that she will marry either Lord Tolloller or Lord Mountararat ("...and I don't care which!"). Strephon then calls for help from the fairies, who appear but are mistaken by the peers for a girls' school on an outing. Offended, the Fairy Queen pronounces a magical "sentence" upon the peers: Strephon shall not only become a Member of Parliament, but will also have the power to pass any bill he proposes ("With Strephon for your foe, no doubt").

Act II

Private Willis, on night guard duty, paces outside the Palace of Westminster and muses on political life ("When all night long a chap remains"). The fairies arrive and tease the peers about the success of MP Strephon, who is advancing a bill to open the peerage to competitive examination ("Strephon's a member of Parliament"). The peers ask the fairies to stop Strephon's mischief, stating that the House of Peers is not susceptible of any improvement ("When Britain really ruled the waves"). Although the fairies say that they cannot stop Strephon, they have become strongly attracted to the peers ("In vain to us you plead"). The fairy Queen is dismayed by this. Pointing to Private Willis of the First Grenadier Guards, who is still on duty, the Queen claims that she is able to subdue her response to the effects of his manly beauty ("Oh, foolish fay").

"In friendship's name!"

Phyllis cannot decide whether she ought to marry Tolloller or Mountararat, and so she leaves the choice up to them. Tolloller tells Mountararat that his family's tradition would require the two Earls to duel to the death if the latter were to claim Phyllis. The two decide that their friendship is more important than love and renounce their claims to her ("Though p'r'aps I may incur thy blame"). The Lord Chancellor arrives dressed for bed and describes a nightmare caused by his unrequited love for Phyllis ("Love, unrequited, robs me of my rest").[26] The two peers try to cheer him up and urge him to make another effort to persuade himself to award Phyllis to ... himself ("If you go in you're sure to win").

Strephon now leads both parties in Parliament, but he is miserable at losing Phyllis. He sees Phyllis and reveals to her that his mother is a fairy, which accounts for her apparent youth ("If we're weak enough to tarry"). Phyllis and Strephon ask Iolanthe to plead with the Lord Chancellor to allow their marriage, for "none can resist your fairy eloquence." This is impossible, she replies, for the Lord Chancellor is her husband. He believes Iolanthe to have died childless, and she is bound not to "undeceive" him, under penalty of death. However, to save Strephon from losing his love, Iolanthe resolves to present his case to the Lord Chancellor while veiled ("My lord, a suppliant at your feet").

Although the Lord Chancellor is moved by her appeal, which evokes the memory of his wife, he declares that he himself will marry Phyllis. Desperate, Iolanthe unveils, ignoring the warnings of the unseen Fairies, revealing that she is his long-lost wife, and Strephon is his son. The Lord Chancellor is amazed to see her alive, but Iolanthe has again broken fairy law, and the Fairy Queen is now left with no choice but to punish Iolanthe with death ("It may not be ... Once again thy vow is broken"). As she prepares to execute Iolanthe, the Queen learns that the rest of the fairies have chosen husbands from among the peers, thus also incurring death sentences – but the Queen blanches at the prospect of slaughtering all of them. The Lord Chancellor suggests a solution: change the law by inserting a single word: "every fairy shall die who doesn't marry a mortal." The Fairy Queen cheerfully agrees and, to save her life, the dutiful soldier, Private Willis, agrees to marry her. Seeing no reason to stay in the mortal realm if peers are to be recruited "from persons of intelligence", the peers join the fairy ranks and "away [they] go to fairyland" ("Soon as we may, off and away").

18a. "De Belville was regarded as the Crichton of his age" (Mountararat) was cut soon after the opening night of Iolanthe. The number appeared soon after Mountararat's Act II entrance, after Phyllis's comment about Strephon going about "with a mother considerably younger than himself". After a short dialogue (which would also be cut) about how people become peers, Mountararat sings a long song about De Belville, a polymath whose talents ranged from painting to literature to inventions. Government was at a loss as to how to reward him – until he inherited millions and obtained a seat in Parliament and "a taste for making inconvenient speeches in the House (of Commons)". He was promptly rewarded by being removed from that House by being given a peerage. According to Reginald Allen's The First Night Gilbert and Sullivan, as well as contemporaneous reviews, it was recited on the first night, rather than sung, and the middle stanza omitted. The music has been lost, except for a leader violin part found in a private collection of band parts in 1999.[27]

21a. "Fold your flapping wings" (Strephon) was sung on the first night and cut soon afterwards. The song, preceded by a recitative for Strephon ("My bill has now been read a second time") appeared shortly after #21, following the exit of the two Earls and the Lord Chancellor and the entrance of Strephon. The tone of the song is dark and angry, in marked contrast with the generally genial tone of Iolanthe, and the lyrics make the case that bad behaviour by the underclasses is caused by their unfortunate circumstances: "I might be as bad – as unlucky, rather – if I only had Fagin for a father." The music to this song survives, and although most productions continue to omit it, the song has been used in some modern productions and as a separate concert piece.[28]

At the time they wrote Iolanthe, both Gilbert and Sullivan were in their peak creative years, and Iolanthe, their seventh work together, drew the best from both composer and author. Sullivan's biographer, Arthur Jacobs, wrote: "[Sullivan] had composed a brilliant new score (his most subtle yet) to a scintillating libretto. ... Iolanthe is the work in which Sullivan's operetta style takes a definite step forward, and metamorphosis of musical themes is its characteristic new feature. ... By recurrence and metamorphosis of themes Sullivan made the score more fluid".[29] Sullivan's overture was superior in structure and orchestration to those that his assistants had constructed for the earlier operas.[30] Much of his "fairy" music pays deliberate homage to the incidental music written by Felix Mendelssohn for an 1842 production of Shakespeare's A Midsummer Night's Dream. Richard Wagner's Ring cycle premiered in London earlier in 1882.[31] The music for the fairies reflects Wagner's style, and the score uses leitmotifs, including a distinctive four-note theme associated with the character of Iolanthe. The Fairy Queen's music parodies that of Wagnerian heroines such as Brünnhilde.[32] The score is wider in range of emotion and style, with innovative use of pizzicato strings, clever and varied underscoring of patter, the tender, sentimental eleventh-hour number for the title character, apt matching of the music to the absurd comedy of the lyrics, and a sustained first act finale with a series of dramatic situations that ends with the confrontation between the fairies and peers.[30]

Gilbert, too, was influenced by earlier works, including The Mountain Sylph by John Barnett. Two characters in Iolanthe, Strephon and Phyllis, are described as Arcadian shepherds. Arcadia was a legendary site of rural perfection, first described by the Ancient Greeks, that was a popular setting for writers of the 19th century. Gilbert had written an earlier work called Happy Arcadia. He had also created several "fairy comedies" at the Haymarket Theatre in the early 1870s. These plays, influenced by the fairy work of James Planché, are founded upon the idea of self-revelation by characters under the influence of some magic or some supernatural interference.[33] Several of Iolanthe's themes are continued from Patience, including the battle between the sexes and the satire on legal and political themes. Iolanthe is one of several of Gilbert's works, including among others The Wicked World, Broken Hearts, Fallen Fairies and Princess Ida, where the introduction of males into a tranquil world of women brings "mortal love" that wreaks havoc with the status quo.[34]

Gilbert's absurdist style is on full display in Iolanthe. For example, all the members of the House of Lords are in love with Phyllis, a ward of the Lord Chancellor. Gilbert satirically sets up the fantastical fairies as the agents of common sense in contrast with the nonsensical peers, who should be sober parliamentarians, while the most poetically romantic of the fairies, the "Arcadian" shepherd, Strephon, is chosen to lead both houses of Parliament.[2][35] One of Gilbert's biographers, Andrew Crowther wrote: "The things that make [the opera] memorable as a work of art [include] the peers entering in the full pomp of their formal robes, magnificent and ridiculous."[2] Among many pot-shots that Gilbert takes at lawyers in this opera, the Lord Chancellor sings that, as a young lawyer, he decided to "work on a new and original plan" similar to the practice in other professions, that diligence, honesty, honour and merit should lead to promotion. Gilbert uses the "fairy law" as a proxy for mortal law, in which an "equity draughtsman" can, with "the insertion of a single word", change the entire meaning of the law. Crowther notes: "All kinds of tone ... mingle in this opera: whimsy, fantasy, romance, wit and political satire."

Iolanthe had a successful initial run in London of 398 performances, spanning the holiday seasons of both 1882 and 1883. Gilbert designed the costumes himself, and sets were by the Drury Lane designer Henry Emden.[36] In an unprecedented first for any play, the New York premiere was given on the same date – 25 November 1882, with the composer's assistant, Alfred Cellier, conducting there.[37] In Australia, Iolanthe was first seen on 9 May 1885 at the Theatre Royal, Melbourne, produced by J. C. Williamson.[38]

In the British provinces, Iolanthe played – either by itself, or in repertory – continuously from February 1882 through 1885, then not again until late 1891. From then on, it was always present in the D'Oyly Carte Opera Company's touring repertory, being included in some part of every season until the company's closure in 1982.[39] Most of the costumes were redesigned by Percy Anderson in 1915 and by George Sheringham in 1932, and Peter Goffin designed new sets in 1957 and some new costumes in 1960.[36] After its original production, Iolanthe was not revived in London until 1901, making it the first of the operas to be revived after the composer's death the year before. It was also included in two Savoy repertory seasons, in 1907 and 1908–09.[40]

Iolanthe was the first Gilbert and Sullivan opera performed professionally in Britain by a non-D'Oyly Carte company. It was produced by the Sadler's Wells Opera (now English National Opera) in January 1962, immediately after the Gilbert copyrights expired.[41] It was well received and was successfully revived for many seasons by Sadler's Wells until 1978.[42]Michael Heyland restaged Iolanthe for D'Oyly Carte in 1977, the year of Queen Elizabeth's Silver Jubilee, with silver-themed designs.[43]Iolanthe has remained one of the most popular of the Gilbert and Sullivan works.[44] Thousands of professional and amateur productions of the opera have been given throughout the English-speaking world, and the opera continues to be performed regularly today.[45] The Internet Broadway Database lists 20 productions of the opera on Broadway alone.[46]

The following table shows the history of the D'Oyly Carte productions in Gilbert's lifetime (not including touring companies):

Of the D'Oyly Carte Opera Company recordings of this opera, the 1930 and 1960 recordings have been the best received, and the latter includes the dialogue. The revived D'Oyly Carte's 1991 recording contains Strephon's cut number "Fold Your Flapping Wings" as a bonus track.[62]

Iolanthe offers a satirical portrayal of elements of the British constitution, such as the House of Lords and the position of Lord Chancellor that has influenced modern public debate concerning these institutions, and when Margaret Thatcher was elected as Prime Minister, the press joked about the line from the opera "This comes of women interfering in politics!"[44]Lord Falconer, who served as Tony Blair's second Lord Chancellor, was reportedly influenced by Iolanthe in his moves to reform or disband the office.[71]

Effect upon Chief Justice Rehnquist

William H. Rehnquist, former Chief Justice of the United States, was a great Gilbert and Sullivan fan[72] and was inspired by the costume of the Lord Chancellor, in a production of Iolanthe, to add four golden stripes to the sleeves of his judicial robes.[73] The next Chief Justice, John G. Roberts Jr., did not retain the ornamentation. In 1980, while an Associate Justice, Rehnquist mentioned the Lord Chancellor in his dissenting opinion in the case of Richmond Newspapers, Inc. v. Virginia, comparing the majority opinion to the hubris of the Lord Chancellor: The Law is the true embodiment/Of everything that's excellent./It has no kind of fault or flaw/And I, My Lords, embody the Law.[74]

^The Lord Chancellor says that "Love, nightmare-like, lies heavy on my chest." A well-known painting exhibited in London, "The Nightmare", had influenced several writers including Mary Shelley and Edgar Allan Poe (see Ward, Maryanne C. (Winter, 2000). "A Painting of the Unspeakable: Henry Fuseli's The Nightmare and the Creation of Mary Shelley's Frankenstein". The Journal of the Midwest Modern Language Association 33 (1): 20–31) and had been described in a short poem by Erasmus Darwin, "Night-Mare", which included the lines, "The Fiend.../ Seeks some love-wilder'd maid with sleep oppress'd,/ Alights, and grinning sits upon her breast". See Moffitt, John F. "A Pictorial Counterpart to 'Gothick' Literature: Fuseli's The Nightmare", Mosaic, vol. 35, issue 1 (2002), University of Manitoba

^This discovery was presented by Helga J. Perry and Bruce I. Miller in 2000 at the 11th International Conference on Nineteenth-Century Music at Royal Holloway, University of London, Egham, Surrey, UK. See 11th Conference on Nineteenth-Century MusicArchived 3 September 2004 at the Wayback Machine., outline conference information. It was subsequently published by the Sir Arthur Sullivan Society. See Perry, H. J. and Miller, B. I. The Reward of Merit? An Examination of the Suppressed De Belville Song in Gilbert and Sullivan's Iolanthe. Sir Arthur Sullivan Society, 2001

^Rehnquist played the silent role of Mr. Bunthorne's Solicitor in the Gilbert and Sullivan opera, Patience, with the Washington Savoyards in 1986. See Garcia, Guy D. "People", Time magazine, 2 June 1986, accessed 8 October 2013

^White, Michael. Foundation,Isaac Asimov: A Life of the Grand Master of Science Fiction, p. 83, Carroll & Graf Publishers, 2005 ISBN0-7867-1518-9. Quote: "Asimov was travelling on the subway reading ... Iolanthe. The illustrations and their military theme started him thinking in terms of armies, wars, and empires. Before he had arrived at [his publisher's] office he had the idea of writing about a galactic empire, based on the historical structure, rise, and fall of the Roman Empire."

1.
Gilbert and Sullivan
–
Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the librettist W. S. Gilbert and the composer Arthur Sullivan and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H. M. S, Pinafore, The Pirates of Penzance and The Mikado are among the best known. Sullivan, six years Gilberts junior, composed the music, contributing memorable melodies that could convey both humour and pathos and their operas have enjoyed broad and enduring international success and are still performed frequently throughout the English-speaking world. Gilbert and Sullivan introduced innovations in content and form that influenced the development of musical theatre through the 20th century. The operas have influenced political discourse, literature, film. Producer Richard DOyly Carte brought Gilbert and Sullivan together and nurtured their collaboration and he built the Savoy Theatre in 1881 to present their joint works and founded the DOyly Carte Opera Company, which performed and promoted Gilbert and Sullivans works for over a century. Gilbert was born in London on 18 November 1836 and his father, William, was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. Director and playwright Mike Leigh described the Gilbertian style as follows, With great fluidity and freedom, First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers metamorphose into aesthetes, and so on and his genius is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a deadpan way. Gilbert developed his theories on the art of stage direction. At the time Gilbert began writing, theatre in Britain was in disrepute, Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or entertainments, for Thomas German Reed. At a rehearsal for one of these entertainments, Ages Ago, the composer Frederic Clay introduced Gilbert to his friend, two years later, Gilbert and Sullivan would write their first work together. Those two intervening years continued to shape Gilberts theatrical style, Sullivan was born in London on 13 May 1842. His father was a bandmaster, and by the time Arthur had reached the age of eight. In school he began to compose anthems and songs, in 1856, he received the first Mendelssohn Scholarship and studied at the Royal Academy of Music and then at Leipzig, where he also took up conducting. His graduation piece, completed in 1861, was a suite of music to Shakespeares The Tempest. Revised and expanded, it was performed at the Crystal Palace in 1862 and was an immediate sensation and he began building a reputation as Englands most promising young composer, composing a symphony, a concerto, and several overtures, among them the Overture di Ballo, in 1870

2.
Arthur Sullivan
–
Sir Arthur Seymour Sullivan MVO was an English composer. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, Pinafore, The Pirates of Penzance and The Mikado. The best known of his hymns and songs include Onward Christian Soldiers, the son of a military bandmaster, Sullivan composed his first anthem at age eight. He was selected as soloist in the choir of the Chapel Royal. His graduation piece was a suite of music to Shakespeares The Tempest. When it was performed in London in 1862, it was an immediate sensation, Sullivan began his composing career with a series of ambitious works, interspersed with hymns, parlour ballads and other light pieces. Among his best received early pieces were a ballet, LÎle Enchantée, from 1861 to 1872, he supplemented his income by working as a church organist and music teacher, and writing hymns and songs. In 1866, Sullivan composed a comic opera, Cox and Box. His most successful work, the Overture di Ballo, premiered in 1870. Sullivans talent and native charm earned him friends in musical and social circles, including Queen Victorias son Alfred. In 1871, Sullivan wrote his first opera with W. S. Gilbert, Sullivan then produced his Festival Te Deum, an oratorio, The Light of the World, and incidental music for West End productions of several Shakespeare plays. He also had conducting and academic appointments, in 1875, producer Richard DOyly Carte reunited Gilbert and Sullivan to create a one-act piece, Trial by Jury, which was a surprise hit. Pinafore became a sensation, as did The Pirates of Penzance and Patience. Sullivan never married but had a love affair with an American socialite. After the death of his brother Fred in 1877, Sullivan supported Freds large family financially for the rest of his life, effectively adopting his nephew Bertie. Carte used his profits from the Gilbert and Sullivan partnership to build the Savoy Theatre in 1881, later hits in the series were Iolanthe, The Mikado, The Yeomen of the Guard and The Gondoliers. Sullivan was knighted for his contributions to music in 1883 and his infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch and The Golden Legend, his most popular choral work. Sullivans only serious opera, Ivanhoe, though successful in 1891, was little-heard after that

3.
Fairy
–
A fairy is a type of mythical being or legendary creature in European folklore, a form of spirit, often described as metaphysical, supernatural, or preternatural. According to Thomas Keightley, the word derives from the Latin fata. Other forms are the Italian fata, and the Provençal fada, in old French romance, fee was a woman skilled in magic, and who knew the power and virtue of words, of stones, and of herbs. Faierie became fairy, but with that now almost exclusively referring to one of the legendary people. The word fairy was used to represent an illusion, or enchantment, to the word faie was added the suffix -erie, used to express either a place where something is found or a trade or typical activity engaged in. In later usage it applied to any kind of quality or activity associated with a particular type of person. In the sense land where fairies dwell, the distinctive and archaic spellings Faery, the latinate fay is not to be confused with the unrelated fey, meaning fated to die. Various folkloristic traditions refer to them euphemistically, by such as wee folk, good folk, people of peace, fair folk. Sometimes the term fairy is used to any magical creature, including goblins or gnomes, at other times. Fairies have their origin in the conflation of Celtic traditions in the Middle French medieval romances. Fairie was in origin used adjectivally, meaning enchanted, but was used as a name for enchanted creatures from as early as the Late Middle English period. In English literature of the Elizabethan era, elves became conflated with the fairies of Romance culture, the Victorian and Edwardian eras saw an increase in interest in fairies. The Celtic Revival viewed them as part of Irelands cultural heritage, carole Silvers and others suggest that the fascination of English antiquarians arose from a reaction to greater industrialization, and loss of folkways. Fairies are generally described as human in appearance and having magical powers, even with these small fairies, however, their small size may be magically assumed rather than constant. Some fairies though normally quite small were able to dilate their figures to imitate humans, on Orkney they were described as short in stature, dressed in dark grey, and sometimes seen in armour. Wings, while common in Victorian and later artwork of fairies, are rare in the folklore, even very small fairies flew with magic. Nowadays, fairies are depicted with ordinary insect wings or butterfly wings. In some folklore, fairies have green eyes, some depictions of fairies either have them wearing some sort of footwear and other depictions of fairies are always barefoot

4.
Court of Chancery
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The Court of Chancery was a court of equity in England and Wales that followed a set of loose rules to avoid the slow pace of change and possible harshness of the common law. The Chancery had jurisdiction over all matters of equity, including trusts, land law, the administration of the estates of lunatics and the guardianship of infants. Thus the Court of Chancery had a far greater remit than the law courts, whose decisions it had the jurisdiction to overrule for much of its existence. From the time of Elizabeth I onwards the Court was severely criticised for its pace, large backlogs. Those problems persisted until its dissolution, despite being mitigated somewhat by reforms, for much of its existence the Court was formally led by the Lord Chancellor, assisted by the judges of the common law courts. The staff of the court included a number of clerks, led by the Master of the Rolls. In 1813 a Vice-Chancellor was appointed to deal with the Chancerys increasing backlogs, offices of the Chancery were sold by the Lord Chancellor for much of its history, raising large amounts of money. The Court of Chancery originated, as did the other High Courts before 1875, in the Norman curia regis or Kings Council, maintained by most early rulers of England after 1066. Under the feudal system, the Council was made up of the Monarch and its jurisdiction was virtually unlimited, with executive, judicial and legislative functions. This large body contained lawyers, peers, and members of the Church and it soon became apparent that it was too unwieldy to deal with the nations day-to-day business. The Chancery started as the staff of the Lord Chancellor, described as a great secretarial bureau, a home office, a foreign office. The Chancery came to prominence after the decline of the Exchequer, dealing with the law of equity, something more fluid, complaints were normally brought via a bill or petition, which had to show that the common law did not provide a remedy for the problem. The Chancery writs were in French, and later English, rather than the Latin used for common law bills, in the reign of Edward III, the Court found a fixed home at Westminster Hall, where it sat almost continually until its dissolution. Prior to this, the disposing of justice had been made difficult by the fact that the Lord Chancellor was required to travel with the King wherever he went. By 1345 the Lord Chancellor began to be seen as the leader of the Court of Chancery, rather than as a representative of the King, and writs and bills were addressed directly to him. Under Richard II it became practice to consider the Chancery separate from the curia, the King gave evasive answers to the requests, and made no decision. Kerly suggests that many complaints from the Commons came from lawyers of the common law, the growth in the number of is a primary indicator of the changing position of Chancery. Chancery English, used in documents, can be seen as the beginnings of Standard English – a national standard of spelling

5.
House of Lords
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The House of Lords of the United Kingdom, referred to ceremonially as the House of Peers, is the upper house of the Parliament of the United Kingdom. Like the House of Commons, it meets in the Palace of Westminster, officially, the full name of the house is, The Right Honourable the Lords Spiritual and Temporal of the United Kingdom of Great Britain and Northern Ireland in Parliament assembled. Unlike the elected House of Commons, all members of the House of Lords are appointed, the membership of the House of Lords is drawn from the peerage and is made up of Lords Spiritual and Lords Temporal. The Lords Spiritual are 26 bishops in the established Church of England, of the Lords Temporal, the majority are life peers who are appointed by the monarch on the advice of the Prime Minister, or on the advice of the House of Lords Appointments Commission. However, they include some hereditary peers including four dukes. Very few of these are female since most hereditary peerages can only be inherited by men, while the House of Commons has a defined 650-seat membership, the number of members in the House of Lords is not fixed. There are currently 805 sitting Lords, the House of Lords is the only upper house of any bicameral parliament to be larger than its respective lower house. The House of Lords scrutinises bills that have approved by the House of Commons. It regularly reviews and amends Bills from the Commons, while it is unable to prevent Bills passing into law, except in certain limited circumstances, it can delay Bills and force the Commons to reconsider their decisions. In this capacity, the House of Lords acts as a check on the House of Commons that is independent from the electoral process, Bills can be introduced into either the House of Lords or the House of Commons. Members of the Lords may also take on roles as government ministers, the House of Lords has its own support services, separate from the Commons, including the House of Lords Library. The Queens Speech is delivered in the House of Lords during the State Opening of Parliament, the House also has a Church of England role, in that Church Measures must be tabled within the House by the Lords Spiritual. This new parliament was, in effect, the continuation of the Parliament of England with the addition of 45 MPs and 16 Peers to represent Scotland, the Parliament of England developed from the Magnum Concilium, the Great Council that advised the King during medieval times. This royal council came to be composed of ecclesiastics, noblemen, the first English Parliament is often considered to be the Model Parliament, which included archbishops, bishops, abbots, earls, barons, and representatives of the shires and boroughs of it. The power of Parliament grew slowly, fluctuating as the strength of the monarchy grew or declined, for example, during much of the reign of Edward II, the nobility was supreme, the Crown weak, and the shire and borough representatives entirely powerless. In 1569, the authority of Parliament was for the first time recognised not simply by custom or royal charter, further developments occurred during the reign of Edward IIs successor, Edward III. It was during this Kings reign that Parliament clearly separated into two chambers, the House of Commons and the House of Lords. The authority of Parliament continued to grow, and, during the fifteenth century

6.
Savoy Theatre
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The Savoy Theatre is a West End theatre in the Strand in the City of Westminster, London, England. The theatre was the first public building in the world to be lit entirely by electricity, for many years, the Savoy Theatre was the home of the DOyly Carte Opera Company, which continued to be run by the Carte family for over a century. Richards son Rupert DOyly Carte rebuilt and modernised the theatre in 1929 and it is a Grade II* listed building. In recent years it has presented opera, Shakespeare and other non-musical plays, the House of Savoy was the ruling family of Savoy descended from Humbert I, Count of Sabaudia, who became count in 1032. The name Sabaudia evolved into Savoy, Count Peter of Savoy was the maternal uncle of Eleanor of Provence, queen-consort of Henry III of England, and came with her to London. King Henry made Peter Earl of Richmond and, in 1246, on Peters death, the Savoy was given to Edmund, 1st Earl of Lancaster, by his mother, Queen Eleanor. Edmunds great-granddaughter, Blanche, inherited the site and her husband, John of Gaunt, 1st Duke of Lancaster, built a magnificent palace that was burned down by Wat Tylers followers in the Peasants Revolt of 1381. King Richard II was still a child, and his uncle John of Gaunt was the power behind the throne, in about 1505 Henry VII planned a great hospital for pouer, nedie people, leaving money and instructions for it in his will. The hospital was built in the ruins and was licensed in 1512. Drawings show that it was a magnificent building, with a dormitory, dining hall, Henry VIIs hospital lasted for two centuries but suffered from poor management. The sixteenth-century historian John Stow noted that the hospital was being misused by loiterers, vagabonds, in 1702 the hospital was dissolved, and the hospital buildings were used for other purposes. Part of the old palace was used for a prison in the eighteenth century. In the nineteenth century, the old buildings were demolished. Carte bought the freehold of the site, then known as Beaufort Buildings, early in 1880 for £11,000, in 1877 he engaged Walter Emden, an architect whose work includes the Garrick and the Duke of Yorks theatres. Before completing the purchase, city officials had assured Carte that they would open a new street on the south side of the plot. He paid his half in March 1880, but the officials caused lengthy delays, Carte told The Times, I am struggling in the meshes of red tape. He finally received the agreement in June. At the same time he ran into another obstacle, Emden suddenly revised his estimate of building costs upward from £12,000 to £18,000, Carte dismissed Emden, who successfully sued for £1,790 for services to date and £3,000 for wrongful dismissal

7.
Patience (opera)
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Patience, or, Bunthornes Bride, is a comic opera in two acts with music by Arthur Sullivan and libretto by W. S. Gilbert. Henceforth, the Gilbert and Sullivan comic operas would be known as the Savoy Operas, Patience was the sixth operatic collaboration of fourteen between Gilbert and Sullivan. It ran for a total of 578 performances, which was seven more than the earlier work. Pinafore, and the second longest run of any work of theatre up to that time. Called Art for Arts Sake, the movement valued its ideals of beauty above any pragmatic concerns, although the output of poets, painters and designers was prolific, some argued that the movements art, poetry and fashion was empty and self-indulgent. That the movement was so popular and also so easy to ridicule as a meaningless fad helped make Patience a big hit, the same factors made a hit out of The Colonel, a play by F. C. Burnand based partly on the cartoons of George du Maurier in Punch magazine. The Colonel beat Patience to the stage by several weeks, modern productions of Patience have sometimes updated the setting of the opera to an analogous era such as the hippie 1960s, making a flower-child poet the rival of a beat poet. The two poets in the opera are given to reciting their own verses aloud, principally to the chorus of rapturous maidens. The style of poetry Bunthorne declaims strongly contrasts with Grosvenors, the formers, emphatic and obscure, bears a marked resemblance to Swinburnes poetry in its structure, style and heavy use of alliteration. The latters, simpler and pastoral, echoes elements of Coventry Patmore, Gilbert scholar Andrew Crowther comments, Bunthorne was the creature of Gilberts brain, not just a caricature of particular Aesthetes, but an original character in his own right. According to Gilberts biographer Edith Browne, the character, Patience, was made up. Patience was not the first satire of the movement played by Richard DOyly Cartes company at the Opera Comique. Grossmith himself had written a sketch in 1876 called Cups and Saucers that was revived as a piece to H. M. S. Pinafore in 1878, which was a satire of the blue pottery craze, a popular misconception holds that the central character of Bunthorne, a Fleshly Poet, was intended to satirise Oscar Wilde, but this identification is retrospective. Rossetti had been attacked for immorality by Robert Buchanan in an article called The Fleshly School of Poetry, published in The Contemporary Review for October 1871, nonetheless, Wildes biographer Richard Ellmann suggests that Wilde is a partial model for both Bunthorne and his rival Grosvenor. Carte, the producer of Patience, was also Wildes booking manager in 1881 as the poets popularity took off, although a satire of the aesthetic movement is dated today, fads and hero-worship are evergreen, and Gilbert’s pen was rarely sharper than when he invented Reginald Bunthorne. Gilbert originally conceived Patience as a tale of rivalry between two curates and of the ladies who attended upon them

8.
Gas lighting
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Gas lighting is production of artificial light from combustion of a gaseous fuel, such as hydrogen, methane, carbon monoxide, propane, butane, acetylene, ethylene, or natural gas. Before electricity became widespread and economical to allow for general public use, gas was the most popular method of outdoor and indoor lighting in cities. Early gas lights were ignited manually, but many designs are self-igniting. In addition, some urban historical districts retain gas street lighting, early lighting fuels consisted of olive oil, beeswax, fish oil, whale oil, sesame oil, nut oil, and similar substances. These were the most commonly used fuels until the late 18th century, chinese records dating back 1,700 years note the use of natural gas in the home for light and heat via bamboo pipes to the dwellings. Public illumination preceded the discovery and adoption of gaslight by centuries, in 1417, Sir Henry Barton, Mayor of London, ordained lanterns with lights to be hung out on the winter evenings between Hallowtide and Candlemasse. Paris was first lit by an order issued in 1524, and, in the beginning of the 16th century, in coal mining, accumulating and escaping gases were known originally for their adverse effects rather than their useful qualities. Coal miners described two types of gases, one called the choke damp and the fire damp. In 1667, a paper detailing the effects of gases was entitled, A Description of a Well and Earth in Lancashire taking Fire. Imparted by Thomas Shirley, Esq an eye-witness, stephen Hales was the first person who procured a flammable fluid from the actual distillation of coal. His experiments with this object are related in the first volume of his Vegetable Statics and these results seemed to have passed without notice for several years. This paper contained some striking facts relating to the flammability and other properties of coal-gas, the principal properties of coal-gas were demonstrated to different members of the Royal Society, and showed that after keeping the gas some time, it still retained its flammability. The scientists of the time still saw no purpose for it. John Clayton, in an extract from a letter in the Philosophical Transactions for 1735, calls gas the spirit of coal and this spirit happened to catch fire, by coming in contact with a candle as it escaped from a fracture in one of his distillatory vessels. By preserving the gas in bladders, he entertained his friends, william Murdoch was the first to exploit the flammability of gas for the practical application of lighting. He worked for Matthew Boulton and James Watt at their Soho Foundry steam engine works in Birmingham and he first lit his own house in Redruth, Cornwall in 1792. In 1798, he used gas to light the building of the Soho Foundry and in 1802 lit the outside in a public display of gas lighting. One of the employees at the Soho Foundry, Samuel Clegg, Clegg left his job to set up his own gas lighting business, the Gas Lighting and Coke Company

9.
D'Oyly Carte Opera Company
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The company was revived for short seasons and tours from 1988 to 2003, and with Scottish Opera it later co-produced two productions. In 1875, Richard DOyly Carte asked the dramatist W. S. Gilbert, when that work, Trial by Jury, became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work, The Sorcerer, followed by H. M. S. After Pinafore became a sensation, Carte jettisoned his difficult investors and formed a new partnership with Gilbert. The company produced the succeeding ten Gilbert and Sullivan operas and many operas and companion pieces at the Savoy Theatre in London. The company also mounted tours in Britain, New York and elsewhere, Cartes able assistant, Helen Lenoir, became his wife in 1888 and, after his death in 1901, she ran the company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company, Cartes son Rupert inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain, with the help of the director J. M. Gordon and the conductor Isidore Godfrey, Carte ran the company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular, after Ruperts death in 1948, his daughter Bridget DOyly Carte inherited the company and hired Frederic Lloyd as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and it re-formed in 1988 with a legacy left by Bridget DOyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from the English Arts Council, it suspended productions in 2003, with Scottish Opera, it co-produced The Pirates of Penzance 2013 and The Mikado in 2016. Some of the performers, over the decades, became stars of their day. The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept the Savoy operas in the eye for over a century and left an enduring legacy of production styles. By 1874, Richard DOyly Carte, a musician and ambitious young impresario, had begun producing operettas in London. He announced his ambitions on the front of the programme for one of his productions that year, in early 1875, Carte was managing Londons Royalty Theatre. Needing a short piece to round out an evenings entertainment featuring the popular Offenbach operetta La Périchole he brought W. S. Gilbert, on tour in 1871, Carte had conducted Arthur Sullivans one-act comic opera Cox and Box, which received an 1874 London revival. In 1873, W. S. Gilbert had offered a libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music. At the Theatre Royal, in Dublin, Ireland in September 1875, while managing the first tour of Trial by Jury, Carte met a young Scottish actress

10.
William Ewart Gladstone
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William Ewart Gladstone, FRS, FSS was a British Liberal and earlier conservative politician. In a career lasting over sixty years, he served as Prime Minister four separate times, more than any other person, Gladstone was also Britains oldest Prime Minister, he resigned for the final time when he was 84 years old. Gladstone first entered Parliament in 1832, beginning as a High Tory, Gladstone served in the Cabinet of Sir Robert Peel. After the split of the Conservatives Gladstone was a Peelite – in 1859 the Peelites merged with the Whigs, as Chancellor Gladstone became committed to low public spending and to electoral reform, earning him the sobriquet The Peoples William. Gladstones first ministry saw many reforms including the disestablishment of the Church of Ireland, after his electoral defeat in 1874, Gladstone resigned as leader of the Liberal Party, but from 1876 began a comeback based on opposition to Turkeys reaction to the Bulgarian April Uprising. Gladstones Midlothian Campaign of 1879–80 was an example of many modern political campaigning techniques. The government also passed the Third Reform Act, Back in office in early 1886, Gladstone proposed Irish home rule but this was defeated in the House of Commons in July. The resulting split in the Liberal Party helped keep out of office, with one short break. In 1892 Gladstone formed his last government at the age of 82, the Second Home Rule Bill passed the Commons but was defeated in the Lords in 1893. Gladstone resigned in March 1894, in opposition to increased naval expenditure and he left Parliament in 1895 and died three years later aged 88. Gladstone was known affectionately by his supporters as The Peoples William or the G. O. M, Gladstone is consistently ranked as one of Britains greatest Prime Ministers. Born in 1809 in Liverpool, at 62 Rodney Street, William Ewart Gladstone was the son of the slave-owning merchant Sir John Gladstone. Although born and brought up in Liverpool, William Gladstone was of purely Scottish ancestry, in 1814 young Willy visited Scotland for the first time, as he and his brother John travelled with their father to Edinburgh, Biggar and Dingwall to visit their relatives. William and his brother were both made freemen of the burgh of Dingwall, in 1815 Gladstone also travelled to London and Cambridge for the first time with his parents. In London he attended a service of thanksgiving with his family at St Pauls Cathedral following the Battle of Waterloo, William Gladstone was educated from 1816 to 1821 at a preparatory school at the vicarage of St Thomass Church at Seaforth, close to his familys residence, Seaforth House. In December 1831 he achieved the double first-class degree he had long desired, Gladstone served as President of the Oxford Union debating society, where he developed a reputation as an orator, which followed him into the House of Commons. At university Gladstone was a Tory and denounced Whig proposals for parliamentary reform, following the success of his double first, William travelled with his brother John on a Grand Tour of Europe, visiting Belgium, France, Germany and Italy. On his return to England, William was elected to Parliament in 1832 as Tory Member of Parliament for Newark, partly through the influence of the local patron, the Duke of Newcastle

11.
Henry Irving
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Sir Henry Irving, born John Henry Brodribb, sometimes known as J. H. In 1895 he became the first actor to be awarded a knighthood, Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author Bram Stoker was business manager of the theatre. Irving was born to a family in Keinton Mandeville in the county of Somerset. W. H. Davies, the poet, was a cousin. Irving spent his living with his aunt, Mrs Penberthy. He competed in a recitation contest at a local Methodist chapel where he was bested by William Curnow and he attended City Commercial School for two years before going to work in the office of a law firm at age 13. He married Florence OCallaghan on 15 July 1869 at St. Marylebone, London, but his personal life took second place to his professional life. On opening night of The Bells,25 November 1871, Florence, Irving exited their carriage at Hyde Park Corner, walked off into the night, and chose never to see her again. He maintained a distance from his children as well. Florence Irving never divorced Irving, and once he had been knighted she styled herself Lady Irving, Irving never remarried and his elder son, Harry Brodribb Irving, usually known as H B Irving, became a famous actor and later a theatre manager. His younger son, Laurence Irving, became a dramatist and later drowned, with his wife, H B married Dorothea Baird and they had a son, Laurence Irving, who became a well-known Hollywood art director and his grandfathers biographer. In November 1882 Irving became a Freemason, being initiated into the prestigious Jerusalem Lodge No 197 in London, in 1887 he became a founder member and first Treasurer of the Savage Club Lodge No 2190, a Lodge associated with Londons Savage Club. It could be said that Irving found his family in his professional company, whether Irvings long, spectacularly successful relationship with leading lady Ellen Terry was romantic as well as professional has been the subject of much historical speculation. Most of their correspondence was lost or burned by her descendants and we were terribly in love for a while. But at earlier periods in her life, when there were more people around to be offended, Terrys son Teddy, later known as Edward Gordon Craig, spent much of his childhood indulged by Irving backstage at the Lyceum. Craig, who came to be regarded as something of a visionary for the theatre of the future, wrote an especially vivid, George Bernard Shaw, at the time a theatre critic who was jealous of Irvings connection to Ellen Terry, conceded Irvings genius after Irving died. After a few years schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lyttons play, Richelieu and this name he eventually assumed by royal licence

12.
Theater (structure)
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A theater, theatre or playhouse, is a structure where theatrical works or plays are performed, or other performances such as musical concerts may be produced. While a theater is not required for performance, a theater serves to define the performance and audience spaces, the facility is traditionally organized to provide support areas for performers, the technical crew and the audience members. There are as many types of theaters as there are types of performance, theaters may be built specifically for a certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-like structures to simple, some theaters may have a fixed acting area, while some theaters, such as black box theaters, may not, allowing the director and designers to construct an acting area suitable for the production. The most important of these areas is the acting space generally known as the stage, in some theaters, specifically proscenium theaters, arena theaters and amphitheaters, this area is permanent part of the structure. In a blackbox theater the area is undefined so that each theater may adapt specifically to a production. In addition to these spaces, there may be offstage spaces as well. These include wings on either side of a stage where props, sets. A Prompters box may be found backstage, in an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the actual theater designated for such uses. Often a theater will incorporate other spaces intended for the performers, a booth facing the stage may be incorporated into the house where lighting and sound personnel may view the show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes, as well as storage. There are usually two main entrances, one at the front, used by the audience, that leads into the back of the audience, the second is called the stage door, and it is accessible from backstage. This is the means by which the cast and crew enter and exit the theater and this term can also be used to refer to going to a lot of shows or living in a big theater city, such as New York or Chicago. All theaters provide a space for an audience, the audience is usually separated from the performers by the proscenium arch. In proscenium theaters and amphitheaters, the arch, like the stage, is a permanent feature of the structure. This area is known as the auditorium or the house, the word parterre is sometimes used to refer to a particular subset of this area. In North American usage this is usually the rear seating block beneath the gallery whereas in Britain it can mean either the area in front near the orchestra pit, the term can also refer to the side stalls in some usages. Derived from the gardening term parterre, the usage refers to the pattern of both the seats of an auditorium and of the planted beds seen in garden construction

A fairy (also fata, fay, fey, fae, fair folk; from faery, faerie, "realm of the fays") is a type of mythical being or …

A portrait of a fairy, by Sophie Gengembre Anderson (1869). The title of the painting is Take the Fair Face of Woman, and Gently Suspending, With Butterflies, Flowers, and Jewels Attending, Thus Your Fairy is Made of Most Beautiful Things – purportedly from a poem by Charles Ede.